From Instruction to Reflection: Film in Education in Sweden (original) (raw)
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European Educational Research Journal, 2012
There are great expectations that new digital technology will become a powerful tool for developing education activities. Like many countries in Europe and worldwide, Sweden has invested a large amount of resources in new technology and new media (hereafter called digital media), and they have become a natural and important part of school teaching. The developed use of digital media is assumed to lead to educational change and, hence, better teaching. That such expectations have not been fulfilled, however, is shown in a number of Swedish, European and international studies. One explanation of this situation may be that the incorporation of digital media differs between different school subjects. School subjects have their characteristic structures, which are of great importance for how digital media can be integrated. Digital media influence the way in which school subjects can be described from a knowledge theory perspective -i.e. what constitutes the subject's paradigm and its teaching practice. The point of departure of this article is the school subjects of art, music and the mother tongue (Swedish), which, like other school subjects, are feeling the pressure of a digital media and screen culture to an ever increasing degree, and it queries whether and how teachers and pupils in these three school subjects conceive of and relate to the shifts that take place in the subjects when digital media are being increasingly integrated into the teaching. The study is based on interviews with pupils and teachers in the three school subjects, and the results are presented in terms of four themes that appear in the investigation -namely: (1) educational environments;
Cinema and Education: a history of the discourses in favor of cinematography in schools
Educação & Realidade, 2023
Cinema and Education: a history of the discourses in favor of cinematography in schools. The cinema since its invention was quickly used to educate. Although it was also rejected, it has never stopped being used at school. Of course, this dynamic was not natural. It was the result of approaches and ideas that interpreted it as positive to achieve moral, aesthetic and cognitive objectives. Through a historical perspective, this text presents seven educational, technological, cultural and economic arguments that explain the continuity of this relationship, that is, the reasons, events and representations that throughout history have determined the use of cinema in the school.
Introduction: Educational Films: A Historical Review of Media Innovation in Schools
Journal of Educational Media, Memory, and Society, 2016
Instructional media serve multiple functions in a school setting. They can disseminate knowledge and skills while also informing and stimulating discussion. They not only convey information and support learning but also foster communication between teachers and pupils and between classmates and groups. However, despite the significant role of teaching media other than textbooks in the classroom, educational and media historians have largely ignored them. This is all the more remarkable because the current media revolution has made the media themselves particularly topical. “Contact with and access to media,” states Jelko Peters “presents a significant and fundamental problem of our time, which is closely linked with values such as freedom of communication and individual freedoms, pluralism, access to education as well as involvement in culture and participation in politics.”
Light ! Camera! Education: The Use of Cinema to Enhance Education and Learning
Today we live an unprecedented audio visual culture, where images exert the role of mediator between subject and culture. Most of young people form their intelligibility of the world from images. Actually nowadays, children and adolescents deal much easier with imagery language than with writing. Thus in the current context of technological innovations produced by the revolution of computerization and the spread of audiovisual media, digital and electronic teaching materials have gained new dimensions in its form, in its content and in its use. In this regard, Mitry stated (2000) " t is our belief that cinema is not just an art, a culture, but a means to knowledge, i.e., not just a technique for disseminating facts but one capable of opening thought onto new horizons. " The inclusion of media instruments in different levels of education during the second half of the 20th century, was a necessary measure and tailored to students' cultural characteristics of modern socie...
Teaching Nordic cinema: Perspectives and possibilities
Journal of Scandinavian Cinema, 2020
For the tenth anniversary issue of Journal of Scandinavian Cinema (JSCA), C. Claire Thomson reflects on fifteen years of teaching Nordic cinema at University College London (UCL). The article outlines the teaching and learning contexts in which the subject is taught, and how teaching has been transformed by developments in scholarship in the field and online resources. The constraints and opportunities offered by the pivot to remote teaching during the 2020 pandemic are also considered. Three extracts from essays by students are offered as illustrations of how students from different disciplinary backgrounds and different parts of the world engage with Nordic cinema.
A Pedagogy of Cinema is the first book to apply Deleuze's concept of cinema to the pedagogic context. Cinema is opened up by this action from the straightforward educative analysis of film, to the systematic unfolding of image. A Pedagogy of Cinema explores what it means to engender cinema-thinking from image. This book does not overlay images from films with an educational approach to them, but looks to the images themselves to produce philosophy. This approach to utilising image in education is wholly new, and has the potential to transform classroom practice with respect to teaching and learning about cinema. The authors have carefully chosen specific examples of images to illustrate such transformational processes, and have fitted them into in depth analysis that is derived from the images. The result is a combination of image and text that advances the field of cinema study for and in education with a philosophical intent. " This outstanding new book asks a vital question for our time. How can we educate effectively in a digitalized, corporatized, Orwellian-surveillance-controlled, globalized world? This question is equally a challenge asked of our ability to think outside of the limiting parameters of the control society, and the forces which daily propel us ever-quicker towards worldwide homogenization. With great lucidity, Cole and Bradley offer us profound hope in Gilles Deleuze's increasingly popular notion of 'cine-thinking'. They explore and explain the potential that this sophisticated idea holds for learning, in an easy going and accessible way, and with a range of fantastic films: from 'Suspiria' and 'Performance' through to 'Under the Skin' and 'Snowpiercer'. This extremely engaging and compelling text is likely to enliven scholars and students everywhere. " – David Martin-Jones, Film and Television Studies, University of Glasgow, UK
LITERATURE REVIEW ON CINEMA AND EDUCATION (Atena Editora)
LITERATURE REVIEW ON CINEMA AND EDUCATION (Atena Editora), 2023
This research is part of the line of studies ``Languages, Art and Education ``, of the Graduate Program in Education at the ``Universidade Regional de Blumenau``, through the Communication and Media Education research group (FURB/CNPq). The research is classified as documentary and descriptive, has a qualitative approach and uses the film analysis technique with adaptation for a didactic sequence. An analysis of the original tale of the ``Branca de Neve`` of the brothers Grimm and the identification of the public for which the didactic sequence is intended. The results achieved were the systematization of a didactic sequence in order to reflect on the use of media, cinema and literature, in the classroom.
El apagón analógico: el British Film Institute y la educación en los tres últimos decenios
Comunicar, 2010
This paper traces key features of the BFI's evolving strategies for film education in UK schools during the final 25 years of the analogue era. Historically, the BFI did much to establish the characteristics of film study, but it also embodied tensions which have continued to preoccupy educators, such as the relationship between the instrumental use of film to support the curriculum, and learning about its intrinsic and distinctive qualities as a medium, or about its ideological function in society. The paper also addresses the question of whether «film» on its own constitutes a valid area of study, or whether it is more properly studied alongside television as part of «moving image media». The BFI has played a key role in exploring these issues and in exemplifying how film, or moving image media, can be taught to younger learners, but the internal vicissitudes it has constantly experienced have always pulled its educational activities in different directions. The central argument of this paper is that film education -and indeed media education in general-should be an entitlement for every learner, not something offered only to a minority or provided as an optional extra. The key projects described in this paper indicate some of the ways in which a publicly funded cultural institution can intervene in educational policy and practice.